Opera Reviews

Don Pasquale, Opera Holland Park

alexandra Coghlan Wednesday, 08 June 2011

Don Pasquale (Donald Maxwell) and Malatesta (Richard Burkhard): A genuinely comic double act

Nothing says summer opera quite like the skittish melodies and Neapolitan oom-pah-pah of a Donizetti overture. It doesn’t get much cheekier or more playful than this, the kind of music that makes you long for a pea shooter to pelt opera-goers with a stealthy fire of peanuts, or daub the bald head of the concert-goer in front of you during his Act II siesta. When set against the greenery and obbligato peacocks of...

Tosca, Royal Opera

Ismene Brown Tuesday, 07 June 2011

Tosca-at-Covent-Garden is a commodity, like bacon-for-breakfast - a pricier commodity, to be true, at officially up to £229.50 a seat, but in both cases people want to get what they expect.

Il Turco in Italia, Garsington Opera

Igor Toronyi-Lalic Saturday, 04 June 2011

Don Geronio (Geoffrey Dalton) catches Fiorilla (Rebecca Nelson) and Selim (Quirijn de Lang) in flagrante: Oo-er missus

What would opera do without the postwar British sitcom? Garsington Opera's new production of Rossini's Il Turco in Italia at Wormsley last night saw yet another opera buffa being sold to 21st-century man using the gestural language of 'Allo 'Allo and Fawlty Towers. It was as easy and enjoyable as a night in with UK Gold - but much nicer, for we were surrounded by fields and forests.

Comment

Rigoletto, Grange Park Opera

alexandra Coghlan Friday, 03 June 2011

They say that old sins cast long shadows, but these are nothing compared to the shadows cast by old productions. To set Verdi’s Rigoletto in 1950s America inevitably courts comparison with that operatic patriarch, Jonathan Miller’s New York Mafia reworking.

The Magic Flute, Garsington Opera

stephen Walsh Friday, 03 June 2011

Tamino and Pamina, in Mozart’s great masonic opera, go through fire and water, as well as trials spiritual and emotional, before achieving their sunlit triumph at the end of it all. They would have sympathy with Anthony Whitworth-Jones and his Garsington Opera team in what must have been quite as frightening a battle to locate, plan, design and build their new pavilion on the Getty estate at Wormsley, near Stokenchurch on the M40, within barely more than a year.

Comment

Turandot, Welsh National Opera, Cardiff

stephen Walsh Sunday, 29 May 2011

No point in going to WNO’s Turandot expecting to see images of old Beijing, for all the charming lady in a Chinese floral hat on the programme cover. The curtain goes up on the inside of an enormous galvanised dustbin festooned with photos of what might be lads from the football team but are actually Turandot’s victims to date.

Comment

Ariodante, Barbican Hall

Igor Toronyi-Lalic Wednesday, 25 May 2011

Handel spread dazzle and desolation evenly enough through the lead roles of Ariodante. A suitably stellar line-up for last night's concert performance at the Barbican was, therefore, awaiting us. Yet, as so often with Handel, the packed ship and its glistening booty inevitably tilted to one passenger and one casket of gems: to Joyce DiDonato and "Scherza infida".

Macbeth, Royal Opera

David Nice Tuesday, 24 May 2011

The staging smacks of Covent Garden's familiar Verdi-by-numbers - surprising since it's the often inventive Phyllida Lloyd's concept, revived by Harry Fehr, but it might as well be the inert pageantry of Elijah Moshinsky - while the necessary singing-acting, no doubt as a result, is mostly one-dimensional and overcooked. Verdi's first confident shot at music-theatre, revised for Paris in 1864 but already vivid in outline four years before Rigoletto broke the mould, deserves better....

Don Giovanni, Glyndebourne Festival Opera

stephen Walsh Monday, 23 May 2011

Two 1950s Mozarts in one weekend might seem like pressing the contemporaneity of great art unnecessarily far. But Jonathan Kent’s Glyndebourne Don Giovanni, revived on Sunday, is a much less crude update than the WNO Così.

Die Meistersinger von Nürnberg, Glyndebourne Festival Opera

David Nice Sunday, 22 May 2011

Nuremberg's beloved Hans Sachs (Gerald Finley) addresses the midsummer crowds

So the world didn't end yesterday as predicted, and Wagner's divine comedy about the meaning of art has weathered the ironic apocalypse following Hitler’s misappropriation. Bayreuth reels, but we Brits are lucky to have two stagings in under a year which take the humanism at face value. Scaling it down for Glyndebourne's intimate summer paradise, given director David McVicar’s knack of finding a plausible historical setting, should have offered a viable alternative to...